Between franchises, action and superheroes Hollywood has found a surprising gold mine: horror movies

14.4% of the American box office already belongs to horror movies. It is its historical maximum and a great leap from 9.8% of last year confirming what we already suspected: the damn genre has become an unexpected hero of Hollywood. ‘Weapons‘, the last success of director Zach Cregger, has debuted with $ 42.5 million collected and 100% critical approval in Rotten Tomatoes. The pattern is confirmed. Why is it important. The era of streaming has created the perfect conditions for this genre: Cheap productions, between 5 and 30 million compared to 200 of a Blockbuster. Viral by its very nature. Consumed in the intimacy of the home, where no one judges you for shouting (when they reach the platforms). Simple equation: Less investment, greater return. The contrast. In 2021, the best previous year for the genre, dominated the sequelae. ‘Halloween’, ‘A Quiet Place’. Now the original stories, new scares. Six horror films have exceeded 50 million worldwide this year. There are 29 horror launches scheduled for 2025. The average budget is a tenth of a Blockbuster traditional. Yes, but. The industry fears an early saturation. Variety I already talked in April of ‘Horror Glut’ (‘Terror Empacho’). The risk is to turn fear into routine and end up tireding the viewer too early. In perspective. Historically, terror is the Hollywood refuge genre in times of crisis. In the great depression it was when the classic monsters of Universal were born. In the seventies (Vietnam, Watergate), they arrived ‘The exorcist‘ and ‘The Matanza de Texas‘. There were also rebounds in Pandemia. Today, with the industry staggering between The strike hangoverthe change of model towards the streaming And the threat of AI, terror is the answer again. Cheap to produce, easy to sell, impossible to ignore. And now what. The generative AI can be the following revolution of the genre. Special effects at balance price, scripts generated by trained algorithms in our deepest fears. Terror, which has always been the most honest genre about the human condition, could be the first to hug the AI without complexes. Fear sells. He has always done it. But now, also saves balances. In Xataka | More ads for less money: the equation of success that Netflix has deciphered big Outstanding image | Warner Bros. Pictures

‘The fantastic 4 is the most disappointing superheroes saga in the history of cinema. And the first criticisms are not optimistic

‘The fantastic four: first steps’ is more than An essential film for Marvel: After some box office failures and a doubtful future, the company is at a point where the success or failure of this new installment of its superhero adventures can mark many future decisions. The previous trajectory of Marvel’s first family in cinemas does not give much hope, so this summer will be for Disney as essential as It is being for Warner. A delicate moment. Why do we say that Marvel is at a key point? They have had a 2024 of Impasse: They just released a movie, ‘Deadpool and Wolverine’that although it was a Great box office successdoes not easily fit into the continuity of the house, that is, it does not “guarantee” future successes, as the “you will continue” of the first phases did. In 2025, Marvel has stumbled upon two films that have worked halfway at the box office, ‘Captain America: Brave New World‘ and ‘Thunderbolts‘And, in part, they frustrate the future of the house (its most emblematic hero, new avengers …) At this point, the success of’ The Fantastic 4 is vital for the company. What comes next. The fantastic four supposes many things, and we do not speak only of a welcome and healthy turn in the aesthetics and the tone that the MCUy asked from the moment it premiered ‘Endey me‘. It also opens doors to the future, to the next Avengers and, of course, to the hopeful ‘Doomsday‘with which The Russo return to Disney. It has already been leaked that ‘the fantastic 4’ includes direct references to that future in which Marvel is putting all his wait, so he will also serve to test the real interest of the public, beyond Soponcios in the Comic-Con. What came before. The fact is that the previous history of the fantastic 4 in cinema feeds, in part, the expectation. As much as they are the groups of key heroes of the House of Ideas (well above the Avengers), they have not had luck in the past, for both reasons. Roger Corman produced An absolutely disastrous version that it was not released in cinemas and whose intrahistory is much more interesting than the film itself. At the beginning of the century two films arrived (one of them also adapting the arrival of Galactus to Earth) that were not bad but were something generic and forgettable, and whose only legacy seems to have been the chance of Qiue Chris Evans, future captain America, gave life to human torch. Finally, in 2015 we had another version, also with very interesting details, also with fateful results and that has again A more stimulating intrahistory than the film itself. And what is looking like. The film reaches the screens today, but we can access the first impressions of the press: it has a very positive 89% in Rotten Tomatoes and a somewhat more discreet 65 in Metacritic. They are, to begin with, scores much higher than those of the previous films of the characters, which suspended in all cases on both platforms (some of them as abysmal as the 2015 version, which has 9% in Rotten Tomatoes, being the Marvel film with the lowest score in history). Thus, In Variety They say that the film says it is “just what is needed to recover the public that suffers superhero exhaustion.” In Screen Rant They claim that Marvel Vuyelve “to the basics: a solid superhero film, with a lot of heart, but with little spectacular.” And Empirethat “with an exemplary cast and a brilliant new alternative universe to enjoy, this is the best movie of the fantastic four so far. And if that standard seems too low, then it is also the best Marvel movie in years.” With nuances. There are, however, some clouds on the horizon. ‘Thunderbolts’, despite its disappointing box office, has a comparable score in Rotten Tomatoes (89%), and surpasses it in Metacritic with a 68. In fact, ‘the fantastic 4’ does not even enter into The best valued Marvel Top 10 In Rotten Tomatoes, which only includes films above 90%. Data that, without a doubt, have nothing to do with their performance at the box office, but they give away what can be the Marvel Achilles heel: we may not be facing an infallible film. For example, Our Espinof companions They claimed that “throughout the second act the film becomes a Space Opera Moral that slows down the thrilling rhythm of the beginning “and put the character of Estela Silver, which” has a tiny character arc and a sudden evolution that cuts the film dry. “Despite everything, the general impression on the film was positive and” reminds us why we fell in love with Marvel. “The only way to dissipate these doubts will be attending the rooms. Header | Disney In Xataka | Marvel chronological order. The definitive guide to see all the UCM films and series

This summer’s surprise success in Netflix combines superheroes and k-pop

‘The K-Pop Warriors’ is the undisputed surprise success of the summer: an animated film inspired by the K-Pop music that has been submitted to the top of Netflix’s success lists. One more proof that sometimes it is not necessary to have great names by supporting a production: strangely that it seems, sometimes it is enough to exhibit enough quality and originality. What happens to ‘The K-Pop Warriors’: Also known as ‘KPOP DEMON HUNERS’, the movie’s premise is pure fantasy: a group of idols of K-Pop They lead a secret life as demon jackets, in an absurd and highly stylized mixture of ‘Buffy Hunting’ and ‘Hannah Montana’. In this adventure, facing a band of villains, a group of boys who are also music stars, their responsibilities as Salvadoras of the world and more or less run over their massive success are quoted. Sweeping ‘The K-Pop Warriors’ arrived on the platform on June 20 and quickly reached the post number 1 in Netflix worldwideleading the most watched lists in 26 countries and entering The Top 10 in 93 territories. In its first two weeks, he accumulated more than 33 million views, being placed as the most watched film of the platform in that period. In fact, in the second week, he doubled his initial figures, from 9.2 million views in the first three days to 24.2 million and more than 40 million hours reproduced. That is, a phenomenon of pure mouth mouth. And be careful, that there is also critical and public impact: In Rotten Tomatoesthe film has 95% criticism and 90% of the public, which makes it the best combination of scores for an animated production output of the platform. Impact on multiple aspects. It is not just that the series is reaching unusual success thanks to the quality of its history or its impressive animation, but has transcended its initial success in streaming to become a global phenomenon that also dominates the musical field. Your soundtrack has also achieved a Notable impact: two of their songs entered the 200 Billboard and in their second week the streams In the US, they exceeded 42 million, with a 44% increase in digital downloads, an unusual achievement for an animated film. Who is behind. This success must to the participation of a couple of producers from the K-Pop industry, Teddy Park and Lindgren. The first is one of the most influential producers of the genre, and has written successes for Blackpink2Ne1 and Bigbang. The second is an international producer and composer of international scope, and has worked with artists such as Dua Lipa and BTS. Park took care that the songs sounded to Genuino K-Pop, not a low quality glow for a movie. And Lindgren, on the other hand, is responsible for the cabins to possess enough pop hook to impact the lists of successes. To round the product, in the songs you can hear voices of idols Reales such as Jeongyeon, Jihyo and Chaeyoung from Twice. The fandom can be satisfied. And now what. The overwhelming success of ‘The K-Pop warriors’ can leave an important mark in the industry, or at least advance some future trends. For example, it eliminates from Disney’s hands the monopoly of animated musical productions, introducing other genres and themes that are proven that they are interested in the Fandom: the K-Pop sells, and is a practically virgin material in the world of success animation. We are facing unstoppable force within the tastes of thousands of spectators. Lie groups. And linked to the latter, we must not forget that Hentr/X and Saja Boys, the leading groups of ‘The K-Pop Warriors’ are entirely virtual. Its sales and their achievements (for example, have reached number one of platforms such as Spotify) rival those of authentic groups, which opens the doors to more experiments of this type. The creation of fictitious artists, whose life was modeled by marketing departments, was common note in the K-Pop, but with this confirmation of the success of the idols Virtualthe genre continues to widen borders towards unknown limits. Header | Netflix In Xataka | In South Korea there is a curious phenomenon that keeps economists and fans of the K-Pop in suspense: the return of BTS

The best history of superheroes in recent years returns to prime video with its third season

There will be those who prefer, of course, the two great, Marvel and DC. There will be those who are more decided by bilious versions of the superhero cosmos, such as the sensational ‘The Boysand his Spin-off ‘GEN-V‘, although here we prefer to see this successful Amazon series as a satire that uses superheroes as a backdrop, rather than as a purely superhero story. But The truth is that superheroes do not end up exhausting: In fact, DC has recently returned with the hilarious’Monster command‘, spiritual sequel to also magnifgic ‘The Pacifier’. Perhaps this last series by James Gunn is the only one capable of shadowing ‘Invincible‘, which now premieres its third season In Prime Video: genuinely superheroic, but with absolutely adult content regarding the conflicts that the violence it shows, it has become an impressive appointment for gender fans. From the aesthetics to the background, all ‘invincible’ is both a love letter to superheroes and a question of their main topics. The series continues at the point where the previous season stayed: we meet Mark’s father, Omni-Man, who is apparently repentant of what happened in the past, and Mark will test its almost omnipotence to the limit. All among absolutely devastating action pan: this is one of the most frantic and violent seasons of the series. Meanwhile, Mark will ask what exactly distinguishes a hero from a villain and will undertake a search for his own identity that will have such fun moments as the adoption of a new suit and as emotional as the protection and education of his brother. That baby of the second season? He has become a teenager who does not know prudence, but devastating super powers. Header | Prime video In Xataka | The new Spider-Man series arrives at Disney+, but it has something that is raising controversy: its animation style

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